 What is up guys it's Yuval here and in this video I have the perfect color grading crash course for you in Premiere Pro in Lumetri color. If you're just starting out this is going to be absolutely perfect for you we're gonna cover everything A to Z so you want to make sure you watch the entire thing but before we jump in make sure you like this video and subscribe for more of these videos and we also have a giveaway at the end of this video so make sure you stick around but now let's jump right in. So we're in Premiere Pro and let's get this tutorial going so I'm in the color tab here in Premiere and the first thing I want to do the very first thing that you need to do when you start color grading is transforming your footage from log format into rec 709 and if you don't know what that means let me briefly explain. So essentially log is a profile picture that lets you capture higher dynamic range images of the cameras these days shoot log and most people shoot log. A log image is usually more flat it's more gray it has less colors and just the contrast is very low as you can see in this example over here and every camera brand has different log types even in the same camera you sometimes have a few log options so black magic log is going to look different than the sony then panasonic then red and so on but we're gonna get into that in a second so we want to take that log footage and convert it into rec 709. Rec 709 is the standard color space most of the stuff you're seeing online is rec 709 and for now we could just relate to rec 709 as just the normal base I guess like the normal colors normal contrast what you would expect to see now a lot of people shoot on log and then they just try to mess with the contrast and like add some saturation and do the conversion to rec 709 in that way and while that can sometimes work it's probably not the best way to go about it what you actually want to do is get the conversion lot from the official brand that you're using so if I'm using black magic you can get official black magic log to rec 709 lots and the same goes for sony or whichever camera you're shooting with usually they're available for free from the brand's website so make sure you get the official ones so in my case now I'm walking with a black magic pocket file it was shot on the pocket 6k was shot on black magic film which is the log profile for black magic so I'm going to in my basic corrections first thing I'm going to do is choose the correct lot and right away you can see we're back into normal colors and contrasts if we do a quick before because it is pretty flat and now we have the contrast back the colors back here we could probably see it a little bit better and some log profiles are more flat some are less flat really depends on your camera's brand but the process is going to be similar so now that we're in the right color space what we want to do is correct any white balance issues that we might have so that's why we have the temperature and thin sliders over here this I just want to warm up a little bit maybe somewhere around there looks fine to me sometimes you might not even need to do this if you got the white balance right on the shoot which is what you probably want to do anyways but in case you didn't then you have these sliders over here to help you fix that then we have the exposure slider which is just the overall exposure of the image and we have contrast which controls the contrast usually I don't push this around too much then we have highlights which can be very effective look at the sky it's quite blown out just the way it is but if I turn the highlights back down suddenly we're getting some details in the sky we're getting that blue color back we're getting some details in the clouds and also on the face so that's looking pretty good and all we're doing now like this whole section is just color correction so we are not doing any creative color work which would be called color grading so at this stage we're just focusing on fixing the image fixing any color issues fixing the exposure and all of that then we have shadows if you want to open the shadows up or close them down a little bit and we also have whites and blacks which I'm not gonna mess with too much just the blacks maybe a little bit so let's have a quick look again this is the image we started with it's the log image we converted it to break 709 did a few basic adjustments and now we're in a good place to start color grading if we want to so really the whole point of these basic corrections the color correction is just to get us to a base point where we could work off if we wanted to create more creative looks and a lot of the times you could just stop here it really depends on the kind of project that you're doing and the kind of look you're looking for so right here in the creative section this is where we're going to get creative as the name suggests here we can apply lots that actually give us some kind of a look to the image so I have some lots that I got from motion array I'll leave a link down below but let's check them out I'm going to do let's go for like 14 and immediately you can see we're getting a pretty crazy look over here we can control the intensity with the slider over here so if I wanted it more subtle maybe then I would do something like that let's say so that's a very powerful way to instantly add a look to your footage save time or maybe if you just can't get the look right then that's going to be very helpful in that now most of these creative lots are made to use on rex 709 which means it doesn't matter which camera you're shooting on because you need to get the basic correction that we did basically getting your footage from log into rex 709 and then you apply the lot so essentially any camera should be at the same starting point before applying the lot so this is what a lot of people miss they tend to go right into the lot they try to apply it and it doesn't look right because they haven't made the first step of getting their footage into that phase start so you definitely want to avoid that mistake and just do everything correctly and you're going to get beautiful images now on here you also have faded film which I'm not a big fan of yeah you can see what it's doing I don't really like it it looks a little bit amateurish but if that's your thing then by all means go for it then we also have sharpen if we need to sharpen the image we don't need to in this case we also have vibrance and then also of course saturation and then also if we wanted to this is where we could add some color tint to the highlights or the shadows so a common one would be obviously yellow highlights like warm highlights and then cool shadows so the creative tab is a great way to immediately get an effect on the image if you're short on time or if you just want to get a beautiful look easily so this is our rex 709 and wow that's quite a big difference this is with the creative tab on and that's without it so you can see how much we've like pushed the image and it was really fast so yeah that's the creative tab and let's cancel that for now and get back into the starting point and I'm going to show you guys the other sections that we have so curves this is a really really important and powerful section of course we have just the normal curve that you guys probably know by now so we could control individual channels or all of the channels together and basically manipulate the shadows and highlights which is really powerful in it of itself but what I really like more is these other curves over here and we're going to get into them I'm going to show you guys so all of these things over here are basically tools to control individual colors which is why they're so powerful because they give you that pinpoint accuracy where you can change specifically the use saturation and luminance of a certain color so you can see we have you versus sat which means we can choose a color and affect its saturation then you versus you which means we just change the color then we have you versus luma which means we change the luminosity or basically the brightness of a certain color and then we could also make a selection based on luminosity and change the saturation or we could choose a color based on saturation and control the saturation so let's say I don't really like the green color over here I want to make it more yellow what I could do is take the color picker here and I'm going to go for you versus you and let's choose this green color and then you can see it makes a point for me where this color is on this graph so all I need to do is move it around and you can see we're getting more yellow or we could go the other way and make it more blue so that is really cool and of course we can do the same thing if we wanted to control saturation or luminosity so let's go for luminosity for a second you versus luma let's say I want to get this sky more deep it's a bit too bright for me I want to get more depth in there I'm going to choose the color over here which is of course blue and then I'm going to pull this down and you can see what's happening to the sky and if I go really extreme you can see that our image is really starting to fall apart you can see all these weird artifacts so that's something to be aware of and be careful of when manipulating specific colors because that can happen pretty quickly depending on what like depending on the quality of the footage that you have so that's obviously too much so we're gonna back it up so that was curves and next up we have the color wheels with the color wheels we can basically push color into the shadows into the mid tones and into the highlights be gentle with this tool because it can get pretty crazy pretty fast so let's make a quick demonstration so I think like before we're gonna push the highlights towards these warm tones and then we'll push some blues into the shadows and maybe get mid tones towards those warm colors also so obviously I'm just playing around but just see how much of a difference that made very quickly so that is how to use the color wheels take the time to experiment with it and see which color combinations work and obviously it really depends on your footage as well but it's a very powerful tool to create stronger looks so next up we have HSL secondary which is an amazing feature that Premier didn't always have I think a few years back and they didn't have it on here and is a very very important because it lets you make selections based on you saturation and luminance all together which gives you a lot of control and is great especially for controlling things like skin tones or maybe like other specific parts of an image so let's make a quick example let's say we wanted to separate his skin and control only that we could go into the eye dropper and choose a point somewhere around there and then to actually see what we're selecting we can check this box over there and I usually like to go for white and black and then we're going to start manipulating things so I'm just messing around with you saturation and luminance to try and make the best selection that I can and this is going to be easier or harder depending on the footage you're walking with so in this case it's not the easiest so I'm just gonna try my best but if you are doing it for yourself then obviously take the time to mess around with it and find the perfect selection so you can see my selection here is not the cleanest we're getting some of his clothes and some stuff in the background so definitely spend more time on this again I'm just doing it for a sake of the tutorial just showing you guys the principles but yeah let's say that this is a good selection and we're happy with it so we can denoise and that could clean up things a little bit more maybe add some blur even then let's uncheck this so we can get back into the normal view so now we could either move around colors over here or we could move them in shadow mid tones highlights and we could also control the temperature tint contrast sharpen and saturation so let's say the skin is maybe like too saturated for me I could bring it down just like that super easy once we have the selection you can see this is working pretty well even though my selection wasn't the best so we could also move around the colors over there so basically you can see we're controlling only the selected area which is the face so if I zoom in here just so you guys can see better this is before and this is after let's even make something more extreme so you can see a little better okay so before and after you can see we're really only affecting the selected area we're not affecting the sky or any of that background so this is really a great great tool to make very specific adjustments so now for the last section we have vignette which if you guys don't know you're going to quickly understand if I push this to the left you can see we're getting these darker edges around the frame and that just kind of helps focus our attention on the center of the frame I don't like I never use this thing which is like brightening the corners so just adding a little bit of vignette is usually a good idea and you could also control the softness with the feather over here just make it more subtle less noticeable and then you have even more control over the midpoint and the roundness basically giving you control of the actual shape so vignette is pretty simple self-explanatory you don't always need it I don't always use it but sometimes it's nice so that is all for today's video hopefully you guys found it helpful if you enjoyed it please give this video a like and consider subscribing that would be highly appreciated and also make sure you follow us on instagram and join our exclusive facebook community links down in the description below and for today's giveaway one of you guys could win free one-year artist music and sound effects subscription all you have to do is let us know down in the comments below what video would you like for us to make next here are the three lucky winners from our last video congratulations to you guys wear those amazing t-shirts and until the next time stay creative